The notion of the individual creator, a product in part of the Western romantic ideal, is now troubled by accounts and explanations of creativity as a social construct. While in collectivist cultures the assimilation (but not the denial) of individual authorship into the complexities of group production and benefit has been a feature, the notion of the lone individual creator has been persistent. Systems theories acknowledge the role of others, yet at heart these are still individual views of creativity - focusing on the creative individual drawing upon the work of others rather than recognizing the mutually constitutive elements of social interactions across time and space. Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom. The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice. The book provides new perspectives to our understandings of the role of collaborative thought and processes in creative work across the domain of music including: composition, musicology, performance, music education and music psychology.
Show moreThe notion of the individual creator, a product in part of the Western romantic ideal, is now troubled by accounts and explanations of creativity as a social construct. While in collectivist cultures the assimilation (but not the denial) of individual authorship into the complexities of group production and benefit has been a feature, the notion of the lone individual creator has been persistent. Systems theories acknowledge the role of others, yet at heart these are still individual views of creativity - focusing on the creative individual drawing upon the work of others rather than recognizing the mutually constitutive elements of social interactions across time and space. Focusing on the domain of music, the approach taken in this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom. The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice. The book provides new perspectives to our understandings of the role of collaborative thought and processes in creative work across the domain of music including: composition, musicology, performance, music education and music psychology.
Show moreI: Introduction; 1: Collaborative Creativity and Creative Collaboration: Troubling the Creative Imaginary; II: Collaborative Creativity in Compositional Thought and Practice; 2: The Scattering of Light: Shared Insights into the Collaborative and Cooperative Processes that Underpin the Development and Performance of a Commissioned Work; 3: No Stone Unturned: Mapping Composer–Performer Collaboration; 4: Learning to Collaborate in Code: Negotiating the Score in a Symphony Orchestra Composers' School; 5: Collaborating Across Musical Style Boundaries; 6: We Are All Musical: Investigating Improvisation as Collaborative Creativity; 7: Rimsky-Korsakov and Musorgsky: A Posthumous Collaboration?; III: Collaborative Creativity as Boundary Crossing: Perspectives from Music Performance and Musicology; 8: Creative Collaborative Thought and Puzzle Canons in Renaissance Music; 9: The Spirit of Chinese Creativity in Twenty-first-century Cantonese Culture; 10: An Historical Perspective on Creative Collaboration: The Composition of Theatrical Dance Music at the Early Modern German Court; 11: Collaboration in Duo Piano Performance – ‘Piano Spheres'; 12: Creative Collaboration in Generating an Affective Contemporary Production of a Seventeenth-century Opera; 13: Collaborative Re-creation: A Case Study of a Pianist Recording Australian Women Composers; IV: Emergent Creativity in Collaborative Thought and Practice: Perspectives from Music Education; 14: Supporting Collaboration in Changing Cultural Landscapes: http://operabyyou.com as an Arena for Creativity in ‘Kaleidoscopic Music'; 15: Thorns and Joys in Creative Collaboration: A Project with Music Education and Visual Arts Students; 16: Towards Pedagogies of Creative Collaboration: Guiding Secondary School Students' Music Compositions; 17: ‘Literacy Through Music' – A Multidisciplinary and Multilayered Creative Collaboration; V: Postlude; 18: Musical Performance as Collaborative Practice
Margaret S. Barrett is Professor and Head of the School of Music and Director of the Creative Collaboratorium Research Group at The University of Queensland, Australia. She has served as President of the International Society for Music Education (2012-2014), Chair of the World Alliance for Arts Education (2013-2015), Chair of the Asia-Pacific Symposium for Music Education (2009-2011) and President of the Australian Society for Music Education (1999-2001). Her research has investigated creative thought and practice across the lifespan and the use of narrative and arts-based research methods in music. Margaret's research is supported by grants from the Australian Research Council and has been reported in the major journals and edited collections of the field. Recent publications include: A Cultural Psychology of Music Education (2011), and Narrative Soundings: An Anthology of Narrative Inquiry in Music (with Sandra Stauffer, 2012).
'This collection of articles questions our deeply-rooted individualistic - and often elitist - view of creativity by illustrating the plethora of ways collaboration both underpins creative musical activities and can significantly expand the possibilities for creative thought and practices. The book is important and much-needed reading for the profession across the disciplines of composition, performance, music education, musicology and beyond.' Heidi Westerlund, Sibelius Academy, Helsinki, Finland 'Creative collaboration is increasingly recognized as a key issue in understanding music practice. This new book provides a rich buffet of exciting topics within the area of creative collaboration, from compositional thought and practice, through crossing boundaries to music performance and musicology across settings and cultures. Sophisticated, creative and very well informed by broader literature in education and the social sciences, this is a thought-provoking and enriching book. Warmly and enthusiastically recommended!' Liora Bresler, College of Education at Illinois, Champaign, USA
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